The Strangler (L'Etrangleur)
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The sensibility behind “The Strangler” is sufficiently unusual and stalwart.
It’s like “Peeping Tom” meets one of Dario Argento’s giallo joints, but slathered in a coat of melancholic malaise.
The Strangler has been called a slasher, but it is not. It has been called a giallo, an anti-giallo, and even a revisionist giallo. But it is none of those things. Paul Vecchiali's newly restored 1970 crime flick is, instead, a meditation that crawled onto the Left Bank of post-war French philosophical ruminations.